A consciousness of choreographis roots permeated the joint recital of Nina Watt and Gary Masters, a present and a former member of the Jose Limon Dance Company, at Grace Episcopal Church Thursday evening (a final repeat performance is scheduled for tonight at 8:30).
The backbone of the program-another installment in the attractive new Georgetown Dance Series-was three works by Limon, tracing the artistic lineage of this great exponent of humanism in dance. Three excerpts from "Dances for Isadora" (1971) highlighted emotional amplitude and the extension of natural movement into dance gesture. An interdependency of form and image illuminated the selections from "A Choreographic Offering" (1963), Limon's own tribute to his mentor, Doris Humphrey.
"The Exiles" (1950), a poetic treatmentof the expulsion from Eden, exemplified Limon's succinct dramatic power. Also on the program were Masters' "Sonate," a stillborn essay on death, and the "Spring" duet from Fred Mathews' "The Seasons," a gracefully rotund but somewhat cloying ode in the Limon manner.
The dancing was most impressive in "Spring" and the Isadora tribute. Watt and Masters are well-groomed, intelligent artists but they lack something in the way of deep visceral impact in the Limon repertoire. Too offen the movement had line but no bulk, accent but no thrust.